Dear Esther

Is it time to stop using the term “walking simulator”?

The history of the term “walking simulator” is short but heated. It’s only seen wide usage over the past few years and is often applied frivolously. There’s a lot of uncertainties around it but the one thing that’s for sure it it’s a divisive term. Some people see it as a useful way to bunch togethe

Dear Esther: Landmark Edition is a delicate, embalmed object

Heterotopias is a series of visual investigations into virtual spaces performed by artist and writer Gareth Damian Martin. /// Videogames have always had something of a preference for islands. These closed spaces, limited by a shoreline, are the perfect conceit for creating an enclosed simulation—an

A short video on how to make videogame spaces for storytelling

How does a videogame introduce story to the player? Better yet, how does a game invoke emotion in the constrained physical world space of a game? We’ve seen it done in ham-fisted fashion: see the much maligned “Press F to Pay Your Respects” from Call of Duty: Advanced Warfare, or consider the tradit

More people will soon be able to play The Chinese Room’s poetic videogames

Very soon, thousands more will have the opportunity to get lonely with a videogame in the most beautiful way. Yes, The Chinese Room is bringing both its poetic narrative games, Dear Esther (2012) and last year’s Everybody’s Gone to the Rapture, to new platforms—the former is coming to Xbox One and P

Null Operator is the videogame that refuses to die

One of the more common pieces of advice given to aspiring writers is to “kill your darlings.” It simply means that writers should be willing to remove passages or ideas from their work that they might personally enjoy in service of the reader. Over the course of developing his game Null Operator, An